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PRESS RELEASE Jazz the Week up with Latin American Music From
PRESS RELEASE FOR IMMEDIATE RELEASE Date: 14 June 2019 Jazz the Week Up with Latin American Music from Michel Camilo and Ernest Martinez Izquierdo Swire Denim Series: Jazz with Michel Camilo (14 & 15 June) [14 June 2019, Hong Kong] The Hong Kong Philharmonic Orchestra (HK Phil) is excited to have Dominican jazz pianist and composer Michel Camilo and his Grammy-award winning partner, conductor Ernest Martinez Izquierdo, bringing a jazzy evening to the Hong Kong audience. In this Latin jazz concert, Michel Camilo’s Piano Concerto no.1 will be presented in Hong Kong for the first time together with Gershwin’s all-time favourite Rhapsody in Blue at the Hong Kong City Hall Concert Hall on 14 & 15 June. Underpinning the evening is the Hong Kong premiere of Michel Camilo’s Piano Concerto no.1. The three-part fantasia showcases Camilo’s superhuman keyboard virtuosity with a tropical tint. The work encompasses traditions from his own background while echoing early 20th composers such as Stravinsky and Copland. Argentinean composer Ginastera is acclaimed for infusing national elements with modernism. Inspired by the life on the ranches in Argentina, the Estancia Suite has colourful orchestration and bold harmonies. Combined with a large complement of percussion instruments, conductor Ernest Martinez Izquierdo invites you on a dancing journey to Argentina. “While Camilo plays 'the ink' of Gershwin's scores [Rhapsody in Blue], he embellishes the works with grooves and accents.” --- Billboard The night will be concluded by the pulsating Rhapsody in Blue, Gershwin’s most popular concert work. With the trademark glissando opening by the clarinet, be ready to swing with Camilo’s groovy playing. -
PASIC 2010 Program
201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space. -
Pressemappe 2016
PRESSEMITTEILUNG / 2. März 2016 20 Jahre palatia Jazz Festival „The Finest in Jazz“ Mit dem Sommer 2016 findet in der Zeit vom 25. Juni bis Ende Juli die 20. Festivalsaison an den wohl schönsten historischen Spielstätten in der Weinpfalz statt. Internationale Jazzstars und Deutsche Jazzensembles bieten ein aufregendes Musikprogramm. Zum Einlass ab 18.00 Uhr beginnt jeweils das Jazzkulinarium, bei welchem sich jeder Gast mit Wein und feinen Speisen auf die Konzertabende einstimmen kann. Am 19. Juni 1997 startete das erste Jazzfestival in der Weinstadt Deidesheim. Seinerzeit gab es in der Pfalz kaum Konzerte, die Jazz und jazzaffine Musik vorstellten. Bereits das erste Festival war binnen weniger Tage ausverkauft. Die Deidesheimer Winzerbetriebe stellten ihre schönen Weine vor und das älteste Gasthaus der Pfalz, „Die Kanne“ aus Deidesheim präsentierte eine genußvolle Auswahl von Speisen aus der mediterran‐pfälzischen Küche. Vor der Deidesheimer Stadthalle fand ein kulinarischer Markt statt, der ebenso Teil des Rahmenprogramms war und als „Markt der Genüsse“ bis heute weiterhin durchgeführt wird. Im ersten Festival spielten Albert Mangelsdorff, Wolfgang Dauner, Christof Lauer – sowie Klaus Doldingers Passport, Barbara Dennerlein und Tab Two mit Helmut Hattler und Joo Kraus. Der Anfang war gemacht. Das Festival hieß zu diesem Zeitpunkt Jazzette – Deidesheimer Jazztage und wurde noch ein weiteres Jahr unter diesem Namen fortgesetzt, bis es 1999 pfalzweit an einzigartigen historischen Plätzen der Pfalz unter dem Namen „palatia Jazz“ fortgesetzt wurde. Eine Konzertreihe von jährlich 10‐12 Konzerten – diese an unterschiedlichsten und unverwechselbaren Orten der Weinpfalz, wie die Villa Ludwigshöhe, die Klosterruine Limburg in Bad Dürkheim, der Krönungssaal in der Burg Trifels, der Festsaal im Hambacher Schloss, am Deutschen Weintor, im Park von Schloss Wachenheim usw. -
Notre Dame Collegiate Jazz Festival Program, 2005
Archives of the University of Notre Dame Archives of the University of Notre Dame ro WEDNESDAY, FEB. 23, 2005 Preview Night. LaFortune Ballroom. FREE .-> 8:00 p.m. University of Notre Dame Jazz Band II and Jazz Combo -I-J (J) FRIDAY, FEB. 25, 2005 Evening concert block. Washington Hall. FREE for Students; Non-students $3 for 1 night, $5 for both nights OJ U 6:00 p.m. Oberlin College Small Jazz Ensemble N N 6:45 p.m. Western Michigan UniversityCombo ro 7:30 p.m. University of Illinois Concert Jazz Band --, 8: 15 p.m. Oberlin College Jazz Ensemble 9:00 p.m. Western Michigan UniversityJazz Orchestra OJ 9:45 p.m. Judges' Jam ro-I-J :Jro Frank Catalano (saxophone) c· Andre Hayward (trombone) cO) Lynne Arriale (piano) <{OJ Jay Anderson (bass) ...c:= Steve Davis (drums) ~O ~U SATURDAY, FEB. 26, 2005 Clinic. Notre Dame Band Building. FREE 2-3:00 p.m. Meet in main rehearsal room. Evening concert block. Washington Hall. Free for Students; Non-students $3 for 1 night, $5 for both nights 6:00 p. m. University of Notre Dame Jazz Band I 6:45 p.m. Middle Tennessee State UniversityJazz Ensemble I 7:30 p.m. Jacksonville State UniversityJazz Ensemble I 8: 15 p.m. Carnegie Mellon University 6:30 Jazz Ensemble 9:00 p.m. University of Notre Dame Brass Band 9:45 p.m. Collegiate Jazz Festival Alumni Combo Archives of the University of Notre Dame Festival Director: Greg Salzler OJ Assistant to the Director: WillSeath OJ ~ Festival Graphic Designer: Melissa Martin ~ Student Union Board Advisor: Erin Byrne , Faculty advisorto the festival: Larry Dwyer E SUB E-Board: Jimmy Flaherty E Patrick Vassel e Lauren Hallemann u - HeatherKimmins ro John McCarthy > Caitlin Burns .- ~ MarkHealy (J) OJ (J) 1 Jazz Festival Committee Special Thanks to: Ourguests L.L. -
Daniel Lanois
ESPERANZA SPALDING If “esperanza” is the Spanish word for hope, then bassist, vocalist and composer Esperanza Spalding could not have been given a more fitting name at birth. Blessed with uncanny instrumental chops, a multi-lingual voice that is part angel and part siren, and a natural beauty that borders on the hypnotic, the 25-year-old prodigy-turned-pro might well be the hope for the future of jazz and instrumental music. Spalding was born in 1984 and raised on what she calls “the other side of the tracks” in a multi- lingual household and neighborhood in Portland, Oregon. Growing up in a single-parent home amid economically adverse circumstances, she learned early lessons in the meaning of perseverance and moral character from the role model whom she holds in the highest regard to this day – her mother. But even with a rock-solid role model, school did not come easy to Spalding, although not for any lack of intellectual acumen. She was both blessed and cursed with a highly intuitive learning style that often put her at odds with the traditional education system. On top of that, she was shut in by a lengthy illness as a child, and as a result, was home-schooled for a significant portion of her elementary school years. In the end, she never quite adjusted to learning by rote in the conventional school setting. “It was just hard for me to fit into a setting where I was expected to sit in a room and swallow everything that was being fed to me,” she recalls. -
Io Pages 61 Stadium Van Amateurs Al Ver Voorbij, Blaasinstrumenten De Hoornsectie
)* CD RECENSIES en een helende werking. Het is alsof tijdens de muzieklessen en ik garandeer beeld. De Canterbury-link wordt nog om zich een half uur te verliezen in hun deze muziek bedoeld is om zich diep in u dat er geen gewelddadige incidenten versterkt door de mooie zanglijnen van eigen avontuur! je onderbewustzijn te nestelen terwijl je op school meer zullen voorkomen! Voor Caravan's Richard Sinclair in Vintervake. Alice Switser in yoga-houding hogere sferen probeert wie er helemaal geen genoeg van kan Die Caravan-achtige humor kwam al te bereiken. Together We’re Stranger krijgen: via www.oresundspacecollective. eerder bovenborrelen in feestnummer RYAN PARMENTER werd voor het eerst uitgebracht in com zijn ook nog tien CD-R’s te krijgen, Snill Sang På Bånd, terwijl Apraxia weer The Noble Knave maart 2003 en is in navolging van onder de titel Picks From Space, boor- heel weemoedig is. Variatie is het sleu- (SPLIT DIFFERENCE SDRI 7845) diverse Porcupine Tree uitgaves volle- devol spacejams (van goede geluids- telwoord in het een kwartier durende De zang en piano-ondersteuning van dig opgepoetst en opnieuw uitgebracht kwaliteit) en twee live-dubbelaars uit Frenetisk Frenologi, dat wat zwaarder openingsnummer Züccer hadden zo als een combinatie van CD en DVD. 2006 (van bootlegkwaliteit) waarop de is aangezet dan de rest van de plaat, uit de late jaren 60 kunnen komen, De CD bevat een opgepoetste stereo mannen flink loos gaan. maar waarin je ook een statig kerkor- van The Beach Boys bijvoorbeeld. Het mix van het zeven nummers tellende André de Waal gel terugvindt. -
ARTIST SONG AC/DC Back in Black Adele Rolling in the Deep Al Green
ARTIST SONG AC/DC Back In Black Adele Rolling In The Deep Al Green Let’s Stay Together Alanis Morrisette Ironic Alien Ant Farm Smooth Criminal Amy Winehouse Valerie Aretha Franklin Respect Bill Withers Ain’t No Sunshine Bob Dylan Knocking on Heaven's door Bob Marley I Shot The Sherriff Bon Jovi You Give Love A Bad Name Britney Spears Toxic Bruno Mars Runaway Baby Bruno Mars Treasure Carly Rae Jepsen Call Me Maybe Cee Lo Green Forget You Chic Everybody Dance Chic Le Freak Chic Good Times Deep Purple Black Night Diana Ross Ain't No Mountain High Enough Electric Six Gay Bar Eric Clapton Cocaine Etta James I’d Rather Go Blind Etta James I Just Wanna Make Love to You Foo Fighters Times Like These Fountains Of Wayne Stacy's Mom Gloria Gaynor I Will Survive Gnarls Barkley Crazy Greenday American Idiot Jaco Pastorius The Chicken John Cage's 4'33 Justin Timberlake Sexy Back Led Zeppelin Good Times Bad Times Lee Ritenour Fly By Night Linkin Park Numb Luther Vandross Never Too Much Lynyrd Skynyrd Sweet Home Alabama Maroon 5 Harder To Breathe Maroon 5 This Love Marvin Gaye Through The Grape Vine Metallica Enter Sandman Michael Jackson Beat It Michael Jackson PYT Motorhead Ace of Spades Muse Starlight Muse Time is Running Out No Doubt Don’t Speak Olly Murs Troublemaker Otis Redding Sitting on the dock of the bay Paramore Misery business Paul Simon Diamonds on the Soles of Her Shoes Pixie Lott Cry Me Out Prince Kiss Rage Against The Machine Killing In The Name Red Hot Chili Peppers Aeroplane Red Hot Chili Peppers Californication Rose Royce Car Wash -
In the Studio: the Role of Recording Techniques in Rock Music (2006)
21 In the Studio: The Role of Recording Techniques in Rock Music (2006) John Covach I want this record to be perfect. Meticulously perfect. Steely Dan-perfect. -Dave Grohl, commencing work on the Foo Fighters 2002 record One by One When we speak of popular music, we should speak not of songs but rather; of recordings, which are created in the studio by musicians, engineers and producers who aim not only to capture good performances, but more, to create aesthetic objects. (Zak 200 I, xvi-xvii) In this "interlude" Jon Covach, Professor of Music at the Eastman School of Music, provides a clear introduction to the basic elements of recorded sound: ambience, which includes reverb and echo; equalization; and stereo placement He also describes a particularly useful means of visualizing and analyzing recordings. The student might begin by becoming sensitive to the three dimensions of height (frequency range), width (stereo placement) and depth (ambience), and from there go on to con sider other special effects. One way to analyze the music, then, is to work backward from the final product, to listen carefully and imagine how it was created by the engineer and producer. To illustrate this process, Covach provides analyses .of two songs created by famous producers in different eras: Steely Dan's "Josie" and Phil Spector's "Da Doo Ron Ron:' Records, tapes, and CDs are central to the history of rock music, and since the mid 1990s, digital downloading and file sharing have also become significant factors in how music gets from the artists to listeners. Live performance is also important, and some groups-such as the Grateful Dead, the Allman Brothers Band, and more recently Phish and Widespread Panic-have been more oriented toward performances that change from night to night than with authoritative versions of tunes that are produced in a recording studio. -
Jazz Guitar Talk 10 Great Jazz Guitarists Discuss Jazz Guitar Education © Playjazzguitar.Com
Play Jazz Guitar .com presents Jazz Guitar Talk 10 Great jazz guitarists discuss jazz guitar education © PlayJazzGuitar.com You are welcome to pass this eBook along to your friends. You are also welcome to offer it as a free download on your website provided that you do not alter the text in any way and the document is kept 100% intact. Index Steve Khan 3 Sid Jacobs 8 Jack Wilkins 10 Mike Clinco 13 Richard Smith 15 Jeff Richman 17 Mark Stefani 19 Larry Koonse 22 Henry Johnson 24 Pat Kelley 27 From Chris Standring www.ChrisStandring.com www.PlayJazzGuitar.com Hi there and welcome to Jazz Guitar Talk - boy it sounds like a radio show doesn't it? Well thanks for downloading this eBook, I sure hope it helps put some of your educational queries in perspective. What we have here is a small select group of musical perfectionists, all of whom have dedicated their lives to mastering the art of jazz guitar at the highest level. Jazz guitar instruction it seems is very personal and all who teach it usually teach their own methods and systems with fervor. It's also quite interesting to me how one great player can have a whole different slant on teaching jazz than another. Because instruction seems so personal I wanted to invite some of the world's finest players and educators to answer exactly the same questions. This way we could find out what really was common to all and what was not. The answers were fascinating and it only confirmed how unique everybody is in the jazz guitar world. -
May 2001 03 Jazz Ed
ALL ABOUT JAZZ monthly edition — may 2001 03 Jazz Ed. 04 Pat Metheny: New Approaches 09 The Genius Guide to Jazz: Prelude EDITOR-IN-CHIEF: Aaron Wrixon 14 The Fantasy Catalog: Tres Joses ASSOCIATE EDITOR: Michael Martino 18 Larry Carlton and Steve Lukather: Guitar Giants CONTRIBUTORS: 28 The Blue Note Catalog: All Blue Glenn Astarita, Mathew Bahl, Jeff Fitzgerald, Chris Hovan, Allen Huotari, Nils Jacobson, Todd S. Jenkins, Joel Roberts, Chris M. Slawecki, Derek Taylor, Don Williamson, 32 Joel Dorn: Jazz Classics Aaron Wrixon. ON THE COVER: Pat Metheny 42 Dena DeRose: No Detour Ahead PUBLISHER: 48 CD Reviews Michael Ricci Contents © 2001 All About Jazz, Wrixon Media Ventures, and contributors. Letters to the editor and manuscripts welcome. Visit www.allaboutjazz.com for contact information. Unsolicited mailed manuscripts will not be returned. Welcome to the May issue of All About Jazz, Pogo Pogo, or Joe Bat’s Arm, Newfoundland Monthly Edition! (my grandfather is rolling over in his grave at This month, we’re proud to announce a new the indignity I have just committed against columnist, Jeff Fitzgerald, and his new, er, him) — or WHEREVER you’ve been hiding column: The Genius Guide to Jazz. under a rock all this while — and check some Jeff, it seems, is blessed by genius and — of Metheny’s records out of the library. as is the case with many graced by voluminous The man is a guitar god, and it’s an intellect — he’s not afraid to share that fact honour and a privilege to have Allen Huotari’s with us. -
Persons Index
Architectural History Vol. 1-46 INDEX OF PERSONS Note: A list of architects and others known to have used Coade stone is included in 28 91-2n.2. Membership of this list is indicated below by [c] following the name and profession. A list of architects working in Leeds between 1800 & 1850 is included in 38 188; these architects are marked by [L]. A table of architects attending meetings in 1834 to establish the Institute of British Architects appears on 39 79: these architects are marked by [I]. A list of honorary & corresponding members of the IBA is given on 39 100-01; these members are marked by [H]. A list of published country-house inventories between 1488 & 1644 is given in 41 24-8; owners, testators &c are marked below with [inv] and are listed separately in the Index of Topics. A Aalto, Alvar (architect), 39 189, 192; Turku, Turun Sanomat, 39 126 Abadie, Paul (architect & vandal), 46 195, 224n.64; Angoulême, cath. (rest.), 46 223nn.61-2, Hôtel de Ville, 46 223n.61-2, St Pierre (rest.), 46 224n.63; Cahors cath (rest.), 46 224n.63; Périgueux, St Front (rest.), 46 192, 198, 224n.64 Abbey, Edwin (painter), 34 208 Abbott, John I (stuccoist), 41 49 Abbott, John II (stuccoist): ‘The Sources of John Abbott’s Pattern Book’ (Bath), 41 49-66* Abdallah, Emir of Transjordan, 43 289 Abell, Thornton (architect), 33 173 Abercorn, 8th Earl of (of Duddingston), 29 181; Lady (of Cavendish Sq, London), 37 72 Abercrombie, Sir Patrick (town planner & teacher), 24 104-5, 30 156, 34 209, 46 284, 286-8; professor of town planning, Univ. -
“Quiet Please, It's a Bloody Opera”!
UNIVERSITETET I OSLO “Quiet Please, it’s a bloody opera”! How is Tommy a part of the Opera History? Martin Nordahl Andersen [27.10.11] A theatre/performance/popular musicology master thesis on the rock opera Tommy by The Who ”Quiet please, it’s a bloody opera!” Martin Nordahl Andersen 2011 “Quiet please, it’s a bloody opera!” How is Tommy part of the Opera History? Print: Reprosentralen, University of Oslo All photos by Ross Halfin © All photos used with written permission. 1 ”Quiet please, it’s a bloody opera!” Aknowledgements I would like to thank my supervisors Ståle Wikshåland and Stan Hawkins for superb support and patience during the three years it took me to get my head around to finally finish this thesis. Thank you both for not giving up on me even when things were moving very slow. I am especially thankful for your support in my work in the combination of popular music/performance studies. A big thank you goes to Siren Leirvåg for guidance in the literature of theatre studies. Everybody at the Institute of Music at UiO for helping me when I came back after my student hiatus in 2007. I cannot over-exaggerate my gratitude towards Rob Lee, webmaster at www.thewho.com for helping me with finding important information on that site and his attempts at getting me an interview with one of the boys. The work being done on that site is fantastic. Also, a big thank you to my fellow Who fans. Discussing Who with you makes liking the band more fun.